::ALBUM REVIEW::

In a time when mainstream gospel music sounds too uninspired and repetitive, it's always a pleasure to hear something different. Most wouldn't look to the most peculiar and unusual places to find that "different" sound - instead they flock to places of familiarity. But there is a popular proverb that claims that one shouldn't judge a book by its cover. One would be amazed on the wonder and tapestry that actually exist in common "dry regions" of gospel popularity. Tucked in the historic city of Pittsburgh, Pennsylvania is the Mount Ararat Baptist Church. Led by Pastor William H. Curtis, this progressive ministry is pretty brave in challenging the status quo by delivering a professional, high quality project to the immediate gospel arena. The album, "Called To Relationship", centers around the church's main music ministry component, the MABC Mass Choir, while allowing some of Pittsburgh's shining stars to be seen.

Much of the stronger, exciting displays from this live recording are scattered abroad the project, while Pastor Curtis brings forth several sermonettes between certain cuts using the familiar format of Harborwood's Praise/Worship In His Presence albums. There is also a great wealth of instrumentation applied to each track here, featuring the Kevin Bond-influenced Earon Williams on keyboards, bass vibes from Lorenze Jefferson, catchy drum work from Dennis Garner and J.R. Jones. Album producer Dwayne Fulton also provides his share of keyboard overdubs to the mix; giving the album a more polished feel.

Of the strong cuts, "Just Praise" stands out, mostly because of it being the album opener, but also because of the impressive lead vocals of Anita Levels. Her jazzed and squalling effects along with the infectious rhythms from this contemporary number gives its listeners the satisfying jolt they need for first impressions. "Praise Ye The Lord", penned by Trini Massie (whom is known for working with Rev. James Moore on the "It's Not Over" album), presents a colorful interpretation of a modern anthem set to classical string arrangements and a neat tempo. Definitely one of the album's stronger highlights, it has that same fun-feeling and posture as Malcolm Williams' "How Majestic", but with more depth. The Mt. Ararat Baptist Church Mass Choir also delivers on the heavy-hitting title cut; which presents similar Kevin Bond-synth work along with a 80s vibe best remembered on R&B bands like the Gap Band and the Time. "Called To Relationship" is a funky contemporary jam, flowing in rhythmic bounce and raw background vocals, that could easily set a church service ablaze. James Ziegler's convincing vocals also come through on this one - we just wish the background vocals wasn't so raw on this one. "Forever" is beautifully arranged and almost feels like a studio cut. Trini Massie opens the cut with his impressive, youthful vocal while the song's intimate melody takes over. Towards the end of the cut, the song blooms with a snippet from "The Lord's Prayer" and bows out with "forever". Anthony "Pops" Mitchell's "You Can Count On It" is a nice traditional number and also contains a follow-up reprise featuring Mitchell's spirited lead.

Some cuts are not that bad - they just need a little more work. "Sing A New Song" is one of those cuts you want to really like, but its strange, pitch-bending notes and strange chords can be a bit overbearing. But the song is nicely constructed especially around the vamp, but it strives to do too much with the unnecessary and unusual techniques. "More Than Conquerors", containing a nice reggae foundation, is wordless and is only supported by continual repeats of the same words and lots of ad libs from several artists. "Psalm of Victory" is heavily distracted with punchy, staccato phrasing from the choir on top of a contemporary anthem. But it is the interrupting narrations from Fulton on top of the choir's words that creates a busy performance and is quite difficult to enjoy to its fullest.

Probably the two major concerns here are the fact that there's not enough strong ballads offered here and most of the cuts portray very raw vocals from Mt. Ararat's Music Ministry, even from a few of their featured soloists. The choir definitely has talent, but some studio patchwork, with careful vocal over dubs, would have created for this church production the needed transition to become a zesty snack for serious gospel enthusiasts. Most people expect a church choir production to miss the mark; when compared to the more polished professional choirs, so there are no serious expectations and standards here. But we are pleased to confirm that the production here is very clean and clear - not even a cloud in the sky. And the band is definitely playing some impressive work. With a few catchy cuts along with its rich sound, "Called To Relationship" isn't a bad presentation. And it isn't bad at all coming from unfamiliar territory like Pittsburgh. Curious ears from gospel's elite may shake in fear in their attempts to own this project due to this being a church choir debut from an unfavorable region. But there's no need to be afraid: the Mount Ararat Baptist Church Mass Choir have created an enjoyable and neatly-assembled collection here. Although you may have to give this one a few extra spins to start digging, it's definitely worth it.